S T I T I I I E I T
VO LUM E 9
Frankfurt Book Fair 2000.
Although we have visited Frankfurt for half a lifetime
already, we remark every year how in October the fair-
fever rises once we see the fair tower, the skyscraper that
dominates the skyline long before reaching the city. We
also develop a rising temperature when we enter one of
the enormous halls where the publishers and packagers
have just days before arranged their stands to show all the
new books, projects, and dummies that we come to see.
We are well prepared. Having read the special editions of
The Bookseller, The Publisher 's Weekly, the Borsenblatt
and Livres Hebdo we are informed about the new
children's books to come this fall, and we have our list of
appointments made from home. Nevertheless we feel
seized with a nervous curiosity about the surprises as still
hidden in the stands lined up in many rows in every hall.
With fresh courage we plan to start systematically, at
Row A stand number l . But we didn't expect to meet our
host. For on our way to row A, at literally the second stand
we passed, we are stopped by Mr. Waldo Hunt, the
amiable Chairman of Intervisual Books, Inc. He cannot
wait to show us what he thinks is this year's highlight
from Intervisual's new books: a text-less (and only at the
very last moment was it decided to print a title on the
spine) and almost colorless pop-up book issued in a blank
slipcase: The Polar Bear, 'bitten" and illustrated by a
certain Rives. In spread after spread we follow the
footprints, done in a wonderful greyish blue holographic
foil underneath the cut steps, from his snow cave into the
white world that surrounds him. We are frightened when
at a turn of the page, the ice cracks and opens to show the
deep blue waters below. Only the last spread shows the ice
bear standing beside the direction post that on both its left
and right sides points to the south pole. Looking back after
the five days at the fair, this first book we saw proved to be
one of its gems.
Before Mr. Hunt had a chance to hand us all the other
new titles on display, we took the opportunity to
congratulate him on receiving both the special award from
the Bologna Children's Book Fair last spring
Continued on page 9
Pop (Up) Music
Adie C. Pena
Makati City, the Philippines
Until 23-year old Alex Steinweiss designed an album
cover for "Smash Song Hits by Rodgers and Hart" in 1938,
recorded music always came in plain brown wrappers. His
simple idea of protecting the record (and, more
importantly, creating a visual on the outside to attract the
music aficionado) revolutionized the entire music
marketing industry and gave birth to a new field involving
art directors, illustrators, photographers, typographers
(and, in some instances, paper engineers) - plus, needless
to say, writers responsible for those deferential
(obsequious?) liner notes and essays. Little did he know
that his stroke of genius would make life a little more
interesting for some of us - rabid collectors who believe
that the package is sometimes even more important than
the music it contains, specially if it features a movable on
the cover or a pop-up within the gatefold.
So how many three-dimensional music packages are
out there? As 1 stated during my talk at the 3rd Movable
Book Society conference in New York, a lot. But only a
small number worth acquiring. If it's any consolation to
the would-be collector, the following musical formats were
only invented in the last half of the 20th Century: the
long-playing record (LP) in 1948; the portable cassette
player in 1963; and the compact disc (CD) in 1981-82.
Hence, there are only a few must-haves.
For packaging in the Children's Music Category, the
two Hallmark series ("Listen and Play"  and
"Raggedy Ann And Andy" ) and the set of five (5)
"Disneyrama" LPs  immediately come to mind.
While MBS members are very familiar with the pop-up
packages I've just mentioned, there are five (5) LP records
[1958-1971] with movable covers issued by Playhouse
Records worth adding to one's collection. From Jim Copp
and Ed Brown are: "Jim Copp Tales"  with a
revolving cartoon wheel on the cover; "(A Journey to San
Francisco with) The Glups"  with gameboard,
spinner and punch-out pieces; "Gumdrop Follies" 
with pop-up toy theater and punch-out props; "Jim Copp
and Ed Brown's Schoolmates"  with pop-up
schoolroom and transformation slats blackboard;
Continued on page 2
The Movable Book Society
Movable Stationery is the quarterly publication of The
Movable Book Society. Letters and articles from
members on relevant subjects are welcome. The annual
membership fee for The Society is $20.00. For more
information contact Ann Montanaro, The Movable
Book Society, P.O. Box 1 1654, New Brunswick, New
Daytime telephone: 732-445-5896
Evening telephone: 732-247-6071
The deadline for the next issue is May 15.
Continued from page 1
and "The Sea of Glup" [ 1 97 1 ] with gameboard, spinner
and punch-out pieces. (Sealed copies of both "Glup"
LPs [inventory codes PH-606 and PH-909, respectively]
are still available from Ted Leyhe at Playhouse Records,
P.O. Box 20547, Oakland, CA 94620-0547. E-mail him
at <PlayHytone@aoI.com> or call 1-800-613-6968.
And, yes, credit cards are accepted. Reminder: The
"Glup" LPs do NOT contain pop-ups, so don't tell me
I didn't warn you. For pop-up "purists," the"Gumdrop
Follies" and "Schoolmates" LPs would be safer bets.)
Adie with pop (up) music
For the Christmas Category, three CBS Records
LPs [from 1972, 1973 and 1974, respectively] and one
Mannheim Steamroller/ American Gramaphone CD
 are worth mentioning. These are "The Best-
Loved Music Of Christmas" Double LP (#P2S 5622);
"Ronco Presents A Christmas Present" (UP 11772);
"Ronco Presents A Christmas Gift" (UP 12430); and
"My Little Christmas Tree& Other Christmas Bedtime
Stories" CD. The gatefold pop-ups (think "Hallmark
pop-up table centerpieces") of the Ronco LPs were
designed and manufactured by Chris Cronwell & Co.,
Inc. Darien, CT., while the pop-ups of the "My Little
Christmas Tree" CD were paper engineered by
Intervisual Books. The last one (which reminds me so
much of Tomie da Paola's Giorgio 's Village) is fairly
recent and can be found in bargain bins. I found my
copy in one.
No item in the Country, Classical and Cinema
Music Categories is really worth considering.
Surprisingly, Country Music has the most number of
pop-up packages next to Rock Music — but, sad to say,
there are no standouts. Except, perhaps, for Jack
Ingram's "That's Not Me" CD Single [rt5p-1010,
Rising Tide, Nashville, TN, 1997] wherein the pop-up
is a spare copy of the same CD. The text reads: "Why
two discs? You'll want to give one to a friend!"
Straightforward, yet effective. Which is probably the
essence of Country Music. As for Classical Music, all
I can say is: "Bo-ring!" The most interesting of the lot
is "Erno Rapee's Melodyland Record Book: Six
Musical Fairy Tales, with Eight Fine Recordings"
[Music You Enjoy, Inc., NY, 1 942] featuring the works
of Nikolai Rimsky-Korsakoff, Robert Schumann,
Johannes Brahms, Peter Hitch Tschaikowsky, Sir
Edward Elgar, Cam illeSaint-Saens, and Edvard Grieg.
Just wheels and lift-the-flaps. Nothing really to write
For Cinema Music album covers, one would
expect a whole slew of three-dimensional stuff. They're
called 'moving pictures' after all, right? Wrong! The
best they could muster is a very simple V-fold plus a
punch-out sheet of characters ("Charlotte's Web" LP
 from Paramount Records [PAS- 1008]) and a
multi-layered (think "PopShots") bevy of Busby
Berkeley beauties ("Hollywood Musical: The Golden
Age" LP  from United Artists Records [UA-LA
215-H]). And talk about musicals, the Theatre Music
Category is just a slight improvement over the movies.
If only for the pop-up images of Yul Brynner and Mary
Martin, the "Theatrical Movers" LP  sponsored
by the Exxon Chemical Company may be worth
considering. However, if you already have in your
collection Ron van der Meer's The Phantom Of The
Opera: The Sensational Musical In Three Dimensions
book [ 1 988] from Harper & Row, Publishers Inc., look
no further. It's the best show in town.
For Jazz Music record jackets, there's the series of
seven LPs  on the Limelight label from Mercury
Record Corporation. If the elementary (and I mean
REALLY elementary) gatefold pop-ups don't impress
Continued on page 8
An Interview with David Carter:
Part Three of Three
Corte Madera, California
K: Let's talk about Keith Moseley. He did another one
of my favorite books — Hiawatha .
D: They [Intervisual]brought Keith in from England
and gave him the title of Design Director. At that point
Jim Diaz changed what he was doing and I actually
worked under Keith for a while. I don't know if I share
credit on any of Keith's books because that relationship
didn't last very long. I worked under Keith for a short
time and then Jim started giving me my own books.
K: What do you look to that would be a particular
strength or a talent of Keith's?
D: Keith Moseley is a great paper engineer. I think
Keith is responsible for creating some original
mechanics, which is very unusual. You see very few
people who actually sit down and create a new
mechanic. John Strejan is one. Because Keith was also
an illustrator, he was very good at meshing the two. He
was one of the people who was able to say here's the
paper engineering, here is the art, and I'm going to do
K: You and he are great at that.
D: Early in my career I was thinking that's what needs
to be done, but Keith was already doing it. When you
look back at what he has done, he has created some
genres like the dinosaur bone books. I saw something
written about Keith that was so inaccurate. Someone
said Keith Moseley had done a book with white paper
cut outs and basically copied what Robert Sabuda has
done. And it's like, sorry buddy! Keith did it first.
K: When was Keith Moseley's Dinosaur Skeletons
D: This (looking at a book) is the second or third
printing and this is in 1991. I don't have one of the first
Intervisual printings, but my guess is that the first
Intervisual one was 1984 or 1985, before I ever did my
own book. That was the time period I was working with
Keith a little bit and that's when Jim and Linda decided
that I would be pulled out and start doing my own stuff.
I worked with Keith for a brief time, but I watched a lot
of what he did.
K: This is so effective, to use all the light paper for the
skeleton and the colored paper for the background.
D: That's right. There are a lot of things that he did
like this. I think he was the first to use the concept of
this beautiful white paper on a colored background. He
also did the Flight pop-up book and he was the first to
start doing these intricate models. He had a definite
editorial area. He loved flying. I think he is a brilliant
paper engineer. Keith can cut and he can combine the
art with paper engineering as well. That is what he
does the best. I have a lot of respect for Keith. He has
a wonderful body of work. The paper engineering is
beautiful and the art is really nice.
K: Alpha Bugs was dedicated to Jim Diaz, "My Alpha
D: Yes, that's because Jim was very influential in
getting me into the business and we have become very
good friends too. We think alike. What is important to
me in a pop-up book is the same thing that Jim looks
for. We have developed our concepts on what makes
something good. Of course, Jim does it a different way
and I do it a different way, but we think alike.
K: Who wrote the text and the history for Elements of
D: I wrote the text of the
book, the descriptions of
how each thing happens,
and the history was taken
from many, many different
sources. I picked a couple
of written histories that
Intervisual had passed
around. One of my very
first jobs at Intervisual
when I was hired in 1981
was to do a quick little
newsletter, which was only
produced once or twice. It was sent out to publishers
and in the very first newsletter was a history of pop-
ups. It was probably written by Pete Seymore and told
by Pete or Wally or whoever. I looked at that. I also got
some of the information from the Movable Book
Society — the Michael Dawson piece where he talked
about Theodore Brown and Louis Giraud. I got a little
information there. I then researched it further. I picked
it up from various places.
K: So you wrote the text and put the history together?
D: Yes, and the majority of the paper engineering was
Continued on page 17
Activities of the European Branch
of the Movable Book Society
in the year 2000.
Inspired by the enthusiastic report of the September
New York Movable Book Society conference written by
Ellen G.K. Rubin in the last issue of Movable
Stationery, we thought readers would be interested in
learning something about last year's activities of the
European members. For, although we don't have a big
conference as organized in the States, and most of us
couldn't afford to go to New York since the exchange
rate of the U.S. dollar is so high, we, nevertheless, had
a lot of activities in Holland last year, some of them
attended by members from Germany and the United
Kingdom. Maybe our activities will inspire other
members to organize something similar.
One-day conference in Amersfoort, April 8.
The big exhibition of historical movable and pop-up
books in Haarlem in 1996 was used as the occasion to
organize the first gathering of collectors and others
interested in the subject. It proved to be a very nice day
and was remembered with good feelings for years. On
several occasions we were asked when there would be
another such meeting. In the last months of 1999 Mrs.
Annie Baats and the writer of this article, who
organized the first meeting, sat together to see if we
could do a second event. We found a beautiful historical
location in Amersfoort, a nice little town in the center
of the country not far from Amsterdam and we decided
to invite all the people we know to be involved with
pop-up books for a one-day conference. We then just
had to make a program and to contact the most-wanted
people to lecture. In no time we got promises of
contributions from "names" such as Carla Dijs,
Hildegard Krahe, Ron van der Meer, Kees Moerbeek
and Wilfried Blecher (the German designer of movable
and novelty picture books since the early 1960s) - and
we had some program ideas of our own. It was
impossible to program all the contributions in the
available time. Mrs. Krahe, who had agreed to lecture
about Lothar Meggendorfer, regrettably had to resign at
the very last moment because of the illness of her
husband Peter, known as a gentleman and a great host
to so many friends of movable books who visited his
wife. Unfortunately, Peter passed away only a couple of
months later, in early July 2000.
On the morning of Saturday April 8 we welcomed
some 50 people from different countries, some of whom
arrived from abroad just the day before and stayed
some extra days in Amsterdam. From other countries
we received regrets from people who were unable to
attend this time but sent nice greetings to all
participants. Early in the morning we set up a special
exhibition of carousel books in the beautiful gothic
room, dating from the 16 th century used for the
meeting. The books were mostly from the collection of
Mrs. Baats and covered the complete history of these
pop-ups. There were badges for everybody, handouts
with background information about the various parts of
the program and, of course, an informative leaflet on
the Movable Book Society and extra copies of Movable
Stationery, sent by Mrs. Montanaro for this purpose.
For many of the arriving guests it was a pleasant
reunion with old friends, and for others it was the first
opportunity to meet so many people with the same
interest and the prospect of having an informative day
centered on the books they love. For both reasons it
was not easy for the organization to get the people in
their places and to start the program at exactly ten
For an introduction round we asked the people to
bring one item from their collection that was, for
whatever reason, special for them. It appeared to be a
good idea since the motivation of the choices gave not
only a good glimpse of the personality of the collector,
but resulted, at the same time, in a mini-show of
historical curiosities and highlights of the species.
People brought such things as rare movable picture
cards from the 1 820s, great Meggendorfer books, very
rare Dutch movable books from the 1 860s, a charming
French book with a fold-out paper magic lantern from
the 1920s, and also wonderful one-of-a-kinds made for
special occasions for the specific collector. In no time
people who had never seen each other before started to
talk and compliment their neighbors - when they were
not expressing "oohs" and "ahs" about the displayed
For the next part of the program Ron van der Meer
came especially from his studio in England. Since it
was just a couple of weeks following a program in
which a nationally-known talk show host had
interviewed him and had filmed in his house and
studio near London, we used a videotape as an
introduction. Ron talked about his works, showed the
first copies of his Formula I Pack, and told a lot about
his way of designing pop-up books, showing several
dummies of books he is actually working on that will
be published in the future. Lots of questions from the
audience followed and afterwards he signed many
copies of his books brought by the collectors.
Continued on page 22
1 "fr - AWFUL
2 "& - POOR
3 it - OK
4 "& - GOOD
5 ■& - SUPERB
<^T> Alles Gebacken! Pop-up-Buch. By Nele
A-pA Moost. Ill: Annet Rudolph. Paper Eng:
^*^ Massimo Missiroli. Esslinger. 3-480-21499-1.
I9x22cm. 5 multi-piece pops, 6 tab mechs. Art:
Humorous pen/watercolor. A penguin and his friends
prepare for Christmas. A delightful holiday treat with
nice art and pops. What's even more amazing is this
version was made completely from the original art of
the flat picture book. Paper Eng: Somewhat complex.
^4> Amazing Pop-up 3-D Timescape. By Richard
A^-A Piatt. Ill: Stephen Biesty. Paper Eng: David
^**^ Haw cock. Dorling Kindersley. 0-7894-4716-9.
$19.95 US. 26x30cm. One 5 foot high fold out with 1 1
pop-up on it. Art: Photos, realistic pen/watercolor.
"From the beginning of life to the 21st century." Packed
with information and images, wonderfully detailed art
by the meticulous Biesty. Paper Eng: Simple.
Amazing Pop-up Pull-out Mummy Book
By Claire Bampton. Ill: Nick Watton. Paper
Eng: David Hawcock. Dorling Kindersley.
0-7894-6507-8. $19.95 US. 26x30cm. One 5 foot high
fold out pop-up. Art: Photos, realistic air brush,
humorous pen/watercolor. History and facts about
mummies from around the world. Informative but
unwieldy pop-up is just OK. Paper Eng: Simple.
The amazing pop-up geography book. (Why
is everything so amazing all of the sudden?)
By Kate Petty. Ill: Jennie Maizels. Paper Eng:
Ruth Wickings. Dulion.0-525-46438-7. $22.99 US.
22x30cm. One 3-D pop-up globe (which I couldn't
figure out how to pop-up), 4 multi-piece pops, 1 wheel,
38 tab/flap mechs, 2 fold-out booklets, about 50 flaps.
Art: Humorous pen/watercolor. Everything you could
possibly want to know about our humble (but very busy
looking) planet. Crammed full, and I mean REALLY
crammed full of facts. I had to take a nap after looking
at it. Paper Eng: Simple.
^/^l Don't wake the baby! By Jonathan Allen.
*JLjv Paper Eng: Richard Ferguson. Candlewick
h^i* Press. 0-7636-0891-2. $P9.99 US. $26.99 Can.
25x28cm. 1 pop (which activates a sound chip), 6 pull
tabs (5 of which each activate a different sound chip).
Art: Humorous pen/watercolor. The creator of Wake up
Sleeping Beauty! returns with a bumbling father who
tries to avoid waking his sleeping baby. Hilarious
results (and sounds) soon follow. Paper Eng: Simple.
^A^. Ghoul School. Author uncredited. Ill: David
A-tLA Roberts. Paper Eng: Corina Fletcher. Abrams.
Im^iA 0-8109-4140-6. $17.95 US. 20x30cm. 3 multi-
piece pops, 15 tab/flap mechs, 2 wheels, 8 flaps, 5 small
removable booklets, 1 removable report card, 1
removable paper whirligig that flies. Art: Dark, droll,
British pen/watercolor. The adventures that occur at a
school for the young and supernatural. Hilarious art and
fun pops. A delightful morsel for the slightly twisted.
Paper Eng: Somewhat complex.
Little red car in the snow. By Matthew Price.
III. & Paper Eng: Steve Augarde. Abeville
Kids. 0-7892-0674-9. $6.95 US. 15x1 6cm. 4
tab/flap mechs, 1 flap. Art: Humorous, pen/watercolor/
colored pencil. A small car with personality gets some
help from its human friends when it becomes snow
bound. Cute and fun for very young readers. Paper Eng:
Simple. Also: Little red car gets into trouble, 0-7892-
0676-5; Little red car has an accident, 0-7892-0673-0:
Little red car plays taxi, 0-7892-0675-7.
_ ^ Make a change: shapes. By Working White,
*^ 2 ~ Ltd. Ill: Margot Thompson. Paper Eng: Gelf
New land. The Millbrook Press. 0-7613-1044-4
$8.95 US. 2 1x2 lcm. 7 tab/flap mechs, 2 wheels. 6
multi-piece flaps. Art: Graphic, textured paintings.
Young readers can transform simple shapes into new
shapes or objects (circle, coiled snake, etc.). Nice
concept and artwork. Paper Eng: Simple. Also: Make a
change: opposites, 0-76 1 3- 1 043-6.
Robert Crowther's amazing pop-up house
of inventions. Candlewick Press. 0-7636-
0810-6. $14.99 US, $20.99 Can. 26x22cm.
opens parallel to the spine. 5 multi-piece pops. 5 pull
tabs, 2 wheels, 52 (laps. Art: Humorous pen/watercolor.
A hilarious and colorful history of everything in your
house, from flush toilets to blue jeans. One of the most
educational pop-ups (without being boring or thick) in
recent years. Paper Eng: Simple.
^Aw, The scared little bear. By Keith Faulkner. Ill:
AJjLrV Jonathan I^ambert. Paper Eng: Uncredited.
■Nl^" Orchard Books. 0-531-30267-9. $9.95 U.S.
25x25cm. 6 big pops. Art: Humorous yet elegant
watercolor. A small bear imagines a variety of ferocious
animals as the things that go bump in the night. Nice art
and simple but effective pops. Paper Eng: Simple.
Truck jam. By Paul Strickland. Ragged Hears.
'• ' 1-929927-03-7. $16.95 US. 27x23cm. 7 big
pops. Art: Realistic watercolor. A traffic jam ol
trucks. Pops are great and art is appealing in its subtle
sophistication. Paper Eng: Somewhat complex.
Whambamboozle. By Jason Page. Ill:
Sebastian Quigley. Paper Eng: Jeff Newland/
Alan Brown. Tupelo Books. 0-688-17175-3.
$1 1.95 US. 21x30cm. 1 pop, 16 tab/flap mechs, 1
wheel, 6 flaps, 2 removable paper items, 1 sound chip,
I rubber band activated jiggler. Art: Overdone, realistic
computer-generated. The next-door neighbors live in a
creepy castle. Why not stop by to borrow a cup of
sugar? Concept is good, but the art is so busy it's
distracting. Man)' of the mechs don't really do much.
Paper Eng: Simple.
Zany zoo. By Derek Matthews. The
Millbrook Press. 0-7613-1427-x. $4.95 US.
1 1 \ 14cm. 5 pops. Art: Humorous computer
generated. Eive animals a very young reader would see
when visiting the zoo. Short and sweet. Paper Eng:
Simple. Also: Farmyard fun, 0-7613-1427-x; Jolly
jungle, 0-7613-1425-3; Pet parade, 0-7613-1428-8.
Book Arts Events
The Columbia College Chicago has announced a
spring program of courses, lectures, and exhibits.
Offerings include printing, papermaking,
demonstrations, and book binding. For more
information see: www.colum.edu/centers/bpa.
4 Conference of
The Movable Book Society
September 19 - 21, 2002
Now that my collection of Pop-Up books has reached
250 books, I decided it was time to share them witli the
community rather than keep them lonely on the book
shelf. My first approach was to work with the delighted
local Librarian here in Milford, Ohio. She arranged for
a presentation to children aged 3 yrs and up if
accompanied by their parents. About 40 people signed
up. Initially, I presented some of my favorite books to
the combined group of children and adults. I read a few
books, such as The Owl and Pussy Cat, Ben's Box, and
The Napping House Wakes Up. Then I demonstrated
some other books such as Dragons and the National
Geographic Books. Next, I allowed them to actually
look at a range of 40 children's books instructing them
not to touch the pop-up's themselves. They were very
well behaved and I later found only a tiny piece of
unattached folded green paper that I could not identify
as missing from any of the books. After another
half-hour, the children were separated off and given
the goal of creating a pop-up of their own. Some of the
parents went to help them, but many stayed and I
presented some of the more sophisticated pop-ups to
them. Most people expressed great delight in the
chance to see them and I think it turned out to be quite
Another day, I presented about 50 pop-ups to a
group of 30-40 active seniors that meet at our church.
Robert Sabuda's The Wonderful Wizard of Oz, started
the presentation and set the standard. 1 did not read
any books, but demonstrated the pop-ups from a variety
of the books in my collection that would appeal to
adults from Harle^s to hurricanes (The Earth Pack),
with a few of the great children's books included.
Again, the response was great. They were allowed to
look at the books more closely when I was finished. As
1 had at the first presentation, 1 wore only solid black
so the books would show up well when I held them up
in front of me. I did not present any of the books that
have all of the pop-ups behind flaps because
they are very awkward to handle and show.
It was a good experience. All my books remained
intact and some more people are aware of the wonders
of pop-ups. One of the men told me that he has a
pop-up of Queen Victoria's Coronation that he will
show me. That I want to see.
Just thought you might be interested in this way of
Pop-up Design - The Carousel Pop-Up
Fourth in a Series
Toronto, Ontario, Canada
In my first three articles, I discussed the concepts
behind the most common pop-up techniques. Bringing
them to book form simply requires gluing several
spreads back-to-back. In this article, I will discuss a
variation on this theme, the carousel book.
As always, my articles can be viewed on line at
drop by and visit. My site includes an extensive list of
pop-up related links that I'm sure you will find
interesting. I welcome comments and suggestions.
The Carousel Pop-up:
A carousel pop-up book is a book where, when
opened up fully, the front cover folds back against the
back and thus resembles a carousel or merry-go-round.
The book is often tied open with the aid of a ribbon.
Each page opens up forming a pie-shaped scene as
shown in the illustration below. Carousel books first
appeared in the late 1930's, but became more popular
after the Second World War. Although carousel pop-
ups are still not very common, they are visually
effective and quite simple to make.
A 6 Spread Carousel Pop-lip
My first encounter with a carousel book was Pooh
and Some Bees' almost 15 years ago and it's still one
of my favorites. In this book, five of Ernest Shepard's
famous illustrations have been reworked and presented
in the format shown in the illustration above. What is
really clever about this book is that the carousel can be
unfolded like an accordion via a Velcro fastener
revealing the full text of this Pooh story printed on the
back side of the pop-up spreads! There are even tiny
bonus pop-ups in the folds of the text.
Carousel books are often used to create houses or
castles. Jan Pienkowski's Botticelli's Bed and
Breakfast 2 does just that and more. It also ranks
among my favorites. His book depicts Botticelli's
Venus and Michaelangelo's David as the hosts of an art
packed bed and breakfast Inn. The reader's job is to
discover the signature pieces of over 50 masters
cleverly hidden in the house. Unfortunately, this book
can often only be found inappropriately shelved in the
children's sections of bookstores leaving art lovers
unaware of this treat.
A view of the Inn
Author and illustrator Graeme Base has also
stepped into the pop-up forum with his carousel
adaptation of Lewis Carroll's Jabberwocky 3 . His 7-
spread book is too wide to allow the book to be set up
as a carousel, but the book is a wonderful visual feast.
Designing the Carousel Spread:
The concept behind the pie-shaped carousel is
simple: a foreground image attached to both vertical
sides of the background prevents the spread from
opening a full 180°. This creates the triangular pie-
shape. A mid-ground image slightly longer than the
foreground image is attached along the same vertical
sides as the foreground, but between the foreground
and the background Cutouts in the fore and mid-
grounds give a wonderful depth to the illustration. A
top view of this concept is illustrated in the sketch
In an earlier article, I mentioned that I am an
engineer by profession. I also have a passion for math.
The relationships between the widths, lengths and
depths of this pop-up just crave formulas. I am
presenting these to help you calculate sizes of the
required pieces. Sizes can also be determined by trial
and error without the math, but some finger
gymnastics on your calculator will hopefully simplify
Top View of Single Carousel Spread
Let us assume that you want to make a book with "n"
page spreads (using a number from 3 to 7 works best).
The opening angle of the page "9" is calculated using
Now, if the width of the book is V, the length of
foreground image "1" can be calculated using:
/ = 2w*sin
Finally, you'd like your mid-ground image to be set
back a distance "x" from the foreground Using the
Pythagorean Theorem, the width "m" of the mid-
ground image becomes:
m ■ 2„|x +1 w*sin
The illustration of the top view of the carousel
spread references all the variables used in the
equations. This concludes the math portion of this
As I mentioned, these dimensions can also be
calculated by trial and error. Drawing a full-size top
view of the spread and measuring the lengths with a
ruler can be just as effective. Multiple mid-ground
images are also possible. All images should be creased
down the middle prior to being glued in place to allow
the pop-up to fold closed properly. Remember to
experiment to achieve your desired effects.
All the above equations relate in some way to the
width of the book. The height of the book is
completely independent of the width. It can be as tall
or short, as you desire. The book shape does not have
to be rectangular either, although a flat bottom is
desirable if the book is to stand on its own.
The keys to the image depth are the cutouts. The
foreground images should have the largest cutouts to
maximize the viewing space and to prevent the images
further back from being obscured.
Now to add a twist, both the 90° and 180° discussed
in my previous articles can easily be adapted to suit
this style of book. In fact Botticelli's Bed and
Breakfast is completely designed with 90° and 180°
pop-ups. The possibilities are endless!
In the next issue of Movable Stationery, I will be
describing the peep-show pop-up book. I would also
like to encourage you to send in your comments and
suggestions for future articles. Even better, send me a
photo of your creations! I'm looking forward to
hearing from you.
E.P. Dutton, New York, 1987. Engineer: Paulette
Simon & Schuster Editions, New York, 19%.
Engineers: Rodger Smith and Helen Balmer.
Harry N. Abrams, New York, 1996. Engineer:
Pop (Up) music, continued from page 2
you (I don't think they will, seriously), at least the line-
up of musicians will.
These are 'if You
Can't Beat 'Em
Join 'Em" featuring
Gillespie and the
Big Band [LS- 86022];
The Oscar Peterson
Trio: Recorded Live
at the Tivoli Gardens
in Copenhagen [LS-86023]; "At The Museum
Modern Art" featuring Milt Jackson (LM-82024);
"Beaux J. Pooboo" featuring Les McCann Ltd. (LS-
86025]; "Beautiful Friendship" featuring The Three
Sounds [LS-86026]; and "Rip, Rig and Panic"
featuring The Roland Kirk Quartet with Elvin Jones
[LM-82027]. Each LP contains this audacious blurb:
"This new dimensionally-designed Limelight album
Continued on page 9
debut CD (1989)
Pop (lip) music, continued from page 8
introduces another graphic innovation to modern record
album design. Created and designed by Daniel Czubak.
the unique effect achieved in this album brings new depth to
the visual enjoyment of the discriminating record buyer."
Okay. I hear ya.
Which brings us to the most exciting category:
Rock Music. Every device (gimmick?) we've come
across in movable and novelty books can be found in
this section. Name it, there's a package that's got it —
from 3-D glasses (e.g. Grand Funk Railroad's "Shin in'
On" LP ) and Ienticulars (e.g. The Rolling
Stones' "Their Satanic Majesties Request"  to
stickers (e.g. The Velvet Underground's "Peel Slowly
And See" 5-CD Boxed Set with 're-peelable' Andy
Warhol banana ) and shaped (e.g. Megadeth's
"Rust In Peace" coffin-shaped CD box with pop-up
skeleton [ 1 990]). From touch-and-feel (e.g. Aerosmith's
"Get A Grip" CD with faux cow hide cover [ 1 993]) and
toy theatres (e.g. XTC's "No Thugs In Our House"
Single ) to battery-operated covers (e.g. The
Time's "Pandemonium" CD with digital clock )
and 'premium' items (e.g. Jane's Addiction's "Been
Caught Stealing" CD with miniature usable handcuffs
From die-cuts (e.g. The Wailers' "Catch A Fire"
LP shaped like an oversized Zippo lighter ) and
"do-it-yourself pop-ups (e.g. Parliament's "Motor-
Booty Affair" LP [ 1 978]) to perforated punch-outs (e.g.
Fingerprintz' "Distinguishing Marks" LP with
postcards ) and pull-tabs (e.g. Lightning Seeds'
"Marvellous" CD ). From horizontal split-leaves
(e.g. John Lennon's "Walls And Bridges" LP )
and wheels (e.g. The Soft Machine's "The Soft
Machine" LP [ 1 968]) to movables (e.g. Faces' "Ooh La
La" LP with moving eyes and jaw ) and multi-
layered constructions (e.g. Frank Zappa's "Beat The
Boots" 8-cassette boxed set with pop-up cover ).
From lift-the-flaps (e.g. Twisted Sister's "Come Out
And Play" LP ) and transformation slats (e.g.
David Bowie's "Black Tie White Noise" ) to
peepshows (e.g. BulletBoys' "Freakshow" CD )
and pop-ups (e.g. Junkyard's "Junkyard" CD  or
Pink Floyd's "Libest Spacement Monitor" CD ).
(For the benefit of 'pop' historians, the very first Rock
Music album cover with a pop-up gatefold is Jethro
Tuft's "Stand Up" LP .)
Forget the long (but incomplete) list above. There
are only three Rock Music must-haves. These are:
Michael Jackson's "Dangerous" CD with a multi-
layered pop-up [MJJ Productions Inc., Epic, a Division
of Sony Music, NY, 1991]; Led Zeppelin's "Stairway
G race land
To Heaven: 20th Anniversary Commemorative
which has a three-dimensional zeppelin, naturally!,
[Atlantic Recording Corporation, NY, 1 992]; and Elvis
Presley's "If Every Day Was Like Christmas: Special
Collector's Edition" which features a pop-up
Graceland in the snow
I stated during
my talk in NY
"King of Pop"
title since he has
Gracelands as contrasted to only one pop-up White
House. I was wrong. Soon there will be THREE pop-up
Gracelands: the one I'vejust mentioned; the lb Penick-
engineered "Graceland" Souvenir Card [Graceland
Enterprises, Inc., 1983]; and "Elvis Presley's
Graceland," from the same guys who gave you the Van
Gogh's House and Norman Rockwell tie-back
For purposes of brevity (and space
considerations), this article covers only the highlights
of my NY presentation. For the complete file (I showed
over 200 items which included music-related pop-up
adverts, books, reference materials, etc.), write me at
<email@example.com> and I'll gladly send it
to you. Finally, the pop-up "Gramophone" prop I
featured (a few have asked me where I got it) is a 1 998
greeting card from Graphics3 Inc., Jupiter, FL. You
can contact fellow MBS member Janet Ervin (who
sourced it for me) at <doubIej@mail.networkone.net>.
She may still have a few more copies left. Thanks for
"listening." Let the music play on. And keep on
Frankfurt Book Fair, continued from page I
and the "Lifetime Achievement Award" given to him
by the Movable Book Society just a few weeks before.
Though he tried not to show it, we could see how
honored Mr. Hunt felt to have received these signs of
great respect for and appreciation of the work he has
done over 35 years in children's book in general but,
especially, for the beloved pop-up, movable and novelty
books. He was also flattered to be honored with a full-
page picture in the Publisher's Weekly's special
"Printing in Asia " (see their website
< www.publishersweekly. com> ). We congratulated
Mr. Hunt in advance of his 80th birthday on November
28 and we do it here once more: Wally, all best wishes,
good health, and we hope to see you many more times
in Frankfurt! We know Mr. Hunt does not think of any
retirement, in spite of the problems with his legs.
It was a memorable start to our visit of the fair. With
a head full of memories of that special man who we met
so long ago, we had to force ourselves to work
systematically - with the pleasant prospect of another
appointment with him a couple of days later.
In row A we met another amiable man of long
acquaintance, Mr. Gerald Jenkins, the Chairman of
Tarquin Books. Their stand is always a pleasure since
it shows all the lower-priced books in their finished
shape: a feast of mobiles, paper automata, flexagons,
polyhedra, fractal cuts, slice forms, geodesic domes and
all those other mathematical curiosities perfectly glued
together that make us feel so clumsy. A wonderful new
publication is their Pivoting Parrots (ISBN 1-8996-
1 839-2) and other balancing models by Anne Wild that
make use of small coins as counterweights for the
balance. Also on display was a new Leonardo 's
Machines (1-8996-1837-6) by Bernard Ambrose, a
trained engineer who made an extensive study of the
drawings of Leonardo da Vinci and now has adapted
four of his mechanical ideas into paper models.
A first surprise was a packager hitherto unknown to
us: Robert Frederick Ltd. from Bath and apparently
connected with Grandreams, U.K. They showed a series
of three large (28 x 28 cm.) pop-up books under the
series name "Pop Up Animals": Pop Up Jungle (1-
85081-655-7), Pop Up Farm (1-85081-654-9) and
Three Little Pigs: Pop Up Story Book ( 1 -903437-92-X).
They had the dummy of
a large new carousel
book: Dinosaur World.
A big Cinderella (1-
folds out into a three-
dimensional castle and
is fully detailed
internally with various
accompanied by an electronic sound track and,
strangely, a multi-directional train track instead of
Cinderella's usual coach. Another series was very
clearly inspired by earlier Intervisual "'playsets" such as
Little Choo Choo, Christmas Village and 77?c' Big Race.
Their "Story & Ride
Product Range," Farm
and Safari Ride (1-
have a similar wind-
up toy trains and
sound tracks. Here
again we met the
mentioned in our earlier reports of the fair, the almost
shameless way that original ideas in the world of the
pop-ups are copied. Apparently there is no way to
protect/patent one's design and an innovative idea can
freely and easily be copied by anyone who thinks it
might be commercially successful. As a consequence,
paper engineers are reluctant to show or tell anything
about their new books, fearing their ideas will be stolen
before the book is published.
Such, apparently, was
the reason we didn't see
anything new done by
Ron van der Meer. Since
he himself did not attend
the fair, we talked with
his brother and business
partner who told us,
that Ron has developed
some new ideas for pop-
up books that will link
with the world wide web.
The only dummy of a work-in-progress we saw was the
Holland Pack, to come in 200 1 . It is a novelty in which
the last spread will be reserved for sponsors. Holland-
based multinationals like Philips, Shell or Unilever can
purchase their copies with a special, company-related
final spread. Not too collector friendly, will we have to
collect all versions? On display we saw the just-
published The Cook Pack (1-902413-41-5), a glossy
cookbook with hardly any pop-ups, and the Para
Science Pack ( 1 -9024 1 3-53-9) with text by Uri Geller
and beautiful blank paper artwork by Ron van der Meer
that sometimes magically mirrors colors. The new
Keith Moseley,.-* Busy Day for Santa ( 1 -9024 1 3-49-0),
has again a paper sculpture in an acetate frame as a
front cover. Olivier Charbonnel's Santa's Factory in
an unusual but ingenious way folds out into a three-
floor toy factory with a rounding attic and roof. Since
Van der Meer Publishing showed their books at the
stand of their British distributors, Tango Books, we
took the opportunity to also see the new products of
Sadie Fields Productions/Tango Books. They had a
new book by Eva Tatcheva, Witch Zelda's Christmas
Present, done in the shape of a Christmas tree and a
sequel to her earlier Witch Zelda 's Birthday Cake. The
new book by Pete Bowman, Ed Elephant 's Christmas
Adventure (1-85707-364-9), a pop-up book with mini
Christmas cards in the tradition of his earlier Teddy's
Christmas and Little Owl 's Christmas. A new lift-the-
flap book by Emma Damon, All Kinds of Beliefs (1-
85707-505-6), is the sequel to her successful All Kinds
of People ( 1 995). Tango Books director Mr. Fielder told
us that one took a great deal of diplomacy because of its
subject. A nice new little book with eight, multi-layered
box scenes (shadow box technique) is Ljiljana Ryland's
Christmas Dreaming (1-85707-380-0). But this year's
gem from Sadie Fields Productions is, we thought, the
new book by Brian Lee, The Book of Greek Myths (1-
85707-384-3). It follows the concept of his well-known
Pop-up Board Games and Ghost Hunters, but it now
has four pop-up board games based on the stories of
Odysseus, Theseus and the Minotaur, the Trojan Horse,
and Daedalus and Icarus. Their announced title by Pat
Thomson, Ghoul School: A wickedly Scary Pop-up
Book (1-85707-381-9), has been postponed until fall
200 1 , maybe to avoid confusion with Abrams' recently-
published Ghoul School (0-8109-4140-6). It is
illustrated by David Roberts, paper engineered by
Corina Fletcher, and announced as a "hair-rising pop-
up lesson in spookery."
Just a couple of stands
removed we meet Mr.
David Hawcock, the paper
engineer who did the
artwork for so many titles
published by Tango Books
in earlier years. Nowadays
he has his own packaging
firm and works mostly
with Dorling Kindersley.
His Amazing Pop-up Pull-
out Mummy Book (0-
7513-6343-X), has just been published. It unfolds to a
one and a half metre high pop-up poster - another part
of a growing series of similar designs. David told us he
just finished the next part, Tyrannosaurus Rex,
illustrated by John Sibbick and with text by Clay
Brompton, a specialist from the London Museum of
Natural History. It will come next year from Dorling
Kindersley, another company that never shows
forthcoming projects. Planned in the same such design
are Robot and Medie\'al Knight. On display was the
dummy of a new Totally Amazing Pop-up Animal
Masks with masks that can be taken out to wear and put
back in the book again after play. Also shown were the
dummies of Alien Safari and Dinosaurs, each with six
paper models that click in shape outside the books.
E2i Y- r i
Special, we thought, were a set of four by Mr. Hawcock
provisionally called "scuffle books," books that by an
innovative, simple technique - but with a very
surprising and pleasing effect - scuttle away when a
string is pulled: Bat, Spider, Frog and Mouse. Indeed,
it was the only new technique in a movable book we
saw at this fair and, of course, we enthusiastically
praised to its inventor. Follow his works at his website
Going on we needed a
sharp eye to discover any
interesting movable or
pop-up books amongst the
enormous offerings of |
new books shown by the
big publ ishing companies.
But we succeeded.
Harper-Festival had Tlie
Twelve Days of Christmas
(0-694-0 1446-X) fanning out in the shape of a
Christmas tree and illustrated by Eleni Gianopolus.
Golden Books will hitch into the Pokemon craze with
Pokemon: Where are you Pikachu? A super Pop-up
Book (0-307-33237-3), and exploits the Scooby-Doo
character with Scooby-Doo! Mummy's Tomb Maze
Book (0-307-1 1 127-X) with six built-in sliding puzzles
announced two movable
books in their "Letterland
Concept Books" series,
developed by Lyn Wendon
for children with reading
Oranges ' Book of
7), a pull-tab book to
teach children about
opposites; and Clever Cat 's Book of Colours (0-00-
303456-9), a turn-the- wheels book with a clever use of
the shape of the letters integrated in the illustrations.
Running Press has 3-D Mother Goose Nursery
Rhymes and a new series "The 3-D Journal" with three
parts (Unicorns, Monsters and Vampires). But the
suggestion from these titles is rather misleading since
the books have just a slightly
embossed front cover.
l'ct:t c I 1 a n d
Book of Colours
Mm" * H^
Walker Books from
London UK (and so, most
probably, their American
sister company Candlewick Press) will publish Robert
Crowther's Colours with pull tabs to see the colors
come to life, and Lucy Cousins' new Maisy 's Farm, a
three-scene carousel book strongly reminiscent of her
best-selling Maisy 's House. Candlewick has another
new Robert Crowther title, Amazing Pop-up House of
(0-7636-0810-6) crowded with over 300 facts
inventions and coming in
motion by pull-tabs and lift
flaps as known from his
other books. Candlewick
will bring out another Lucy
Cousins title. Merry
Christmas Maisy (0-7636-
1279-0) showing Maisy's
holiday preparations also
using pull tabs and lift flaps.
Amongst all kinds of
novelty books Oyster Books
offered just one title fitting
our interest. Here we go round the Mulberry Bush, an
accordion-folded edition illustrated by Jenny Tulip with
pop-ups, pull-tabs and a sound module. At Orchard
Books we saw the new Penny Dann, The Secret Fairy
Boutique (1-84121-470-5), part four in her "Secret
Fairy Collection" including seven spreads with pop-ups,
tabs, a handbag, nail tattoos and a friendship bracelet.
The success of her formula seems to have been the
inspiration both for Liza Woodroff, How to be a little
Bride (1-84121-481-7) with its pop-ups and all the
accessories to be a bridesmaid; and for Jan Lewis, 77k?
Secret Princess Handbook, to come fall 2001 and also
packed with small gifts next to the pop-ups. Orchard is
reprinting Philidda Gili's interpretation of The
Nutcracker: A Pop-up Book, and four parts of David
Carter's bugs series (Alpha Bugs, How Many Bugs in a
Box, More Bugs in Boxes and 77k? 12 Bugs of
Christmas), all of them with newly designed covers (to
confuse the collectors?). They also have a new Keith
Faulkner book. The Scared Little Bear: A Not-Too-
Scary Pop-up Book (0-531-30267-9), with the story of
a bear letting his imagination get the better of him.
another title from
1439-3) at the
end opening into a three-dimensional creche. A new
work of the aforementioned Jan Lewis was seen at the
packagers Breslich & Foss: The Pop Up Music Book,
part of their "First Pop Up and LeanT series offering
an introduction to musical instruments for pre-school
children, stimulating them to pluck a stringed
instrument, to shake a maraca, or to beat a drum, paper
engineered by Corina Fletcher. The next part in that
series will be The Pop Up Art Book including nice
slides to mix colors and make new ones.
Matthew Price Ltd. offers a new series of four
Monster Books, written, illustrated, and paper
engineered (lift-flaps and turn-wheels) by our much
admired Steve Augarde. Also on exhibit here was the
sequel to his earlier books Tractor Factory and Fire
Engine, Steve Augarde 's Garage, simply but
ingeniously engineered, as always, and - again - a true
fascination for boys (males?). Price Ltd. also
announced 'the long-awaited sequel to Peekaboo," the
ever-selling 1985 pop-up with the illustrations by Jean
Claverie. The new title will be Who Loves You Baby
Bear? and will have illustrations by Sam Williams. It
has a rather simple concept with a high degree of
cuteness as so many lost little bears awake with
children - and adults alike. To come next fall.
A book that surely will sell large quantities and
whose concept the older reader will remember from
their youth in the 1960s (or the 1950s?) when it came
as a boxed game, is Jay Young's, 77k? Amazing Magic
Fact Machine: Spin the Magic Finger to Find the
Right Answer. Packaged by David Bennett Books and
seen at their stand in various languages, it contains a
dial that spins around (a simple magnetic principle) to
help kids answer questions on various kinds of facts on
its subsequent pages, die-cut in the middle to place the
"magic finger." The packager showed how the concept
will be marketed in coming years in books with titles
such as 77ie Amazing Magic Fortune Teller, The Magic
World of Learning, and others.
Surely the place to be for the most beautiful pop-up
books of this year's fair was the stand of Simon and
Schuster (Little Simon). The three titles that rate for a
first place in the production
of the year 2000 will be
mentioned just briefly since
they have already had so
much attention: Kees
Moerbeek's innovative The
Spooh' Scrapbook (0-689-
83414-4); Brooklyn Pops Up
in its four various editions
which every member, of |
course, wants to possess with
the logo of the Movable Book Society on its spine; and
Robert Sabuda's The Wonderful Wizard of Oz. A
Commemorative Pop-up (0-689-8 1 75 1 -7). The later is
beyond praise in all aspects although some spreads
proved rather difficult to fold down and looked ruined
after a few days on display at the fair. We heard voices
who thought the Wizard with its huge number of pop-
ups was rather overdone and pointed out that
moderation made the master Lothar Meggendorfer -
but maybe these voices were also subject to a certain
degree of jalousie de metier ...?
Simon and Schuster also showed new titles to come
in 2001: David Carter's never-ending series of "Bug
Books" will be extended with Easter Bugs (0-689-
81862-0) and Stinky Bugs: A Lift and Sniff Book. And
the "bugmania" now appears to be infectious: S & S
announced The Mix and Match Book of Bugs by Sally
Rose with illustrations by Scott McDougall, in which
split panels allow the reader to create all kinds of bugs.
David Carter, with his wife Noelle, also did a great new
pop-up adaptation ofE.T.A. Hoffmann's original tale of
77k? Nutcracker (0-689-83285-0) for Simon and
Schuster's "Classic Collectible Pop-up Series." It is our
fifth title vying for the best pop-up of the fair with its
wonderful layout of pages done in a new art style for
David Carter and with beautifully engineered fold-down
scenes reminiscent of theater sets. It is a must, not only
for Christmas. David Carter also did the paper artwork
(six nice fold-down scenes) for a new design of The
illustrated by Tom
Also coming in
2001 from Simon &
Schuster is Rebecca
Sams, Under the
Bed: A Pop-up
Book (0-689-84009-8), a hilarious story on cleaning up
your room, illustrated by Laura Merer and ending up in
an humorous pop-up finale. And Little Red Riding
Hood, illustrated by Marjorie Priceman and with four
pop-ups on its seven spreads will be out in the fall of
The company that has competed for several years
with Simon & Schuster for the best of the pop-ups is,
without any doubt, Macmillan. Nick Denchfield, their
star paper engineer, has a glorious new Alice 's Pop-up
in Wonderland (0-333-901 13-4), a six-scene carousel
featuring the classic Alice illustrations (redrawn by
Alex Vining), with tabs to pull, figures to press-out, a
pull-out game and a booklet telling the story. The book
was issued in a first edition of 100,000 copies
worldwide! Denchfield'sD/'«o5awr/ , ar^(2000), a large
pop-up book with fold-down scenes and loosely
inserted three-dimensional animals to play with, will
be followed soon by a similar Pop-up Safari Adventure
(0-333-78 137-6) and Pop-up Ocean. The equally well-
known Maggie Bateson did for Macmillan another
elaborate carousel, My Secret Fairy Garden, illustrated
by Louise Confort in pink and using foil. It also has
press-out figures and a booklet telling about the fairies
preparing for the big fairy wedding. Perfect for girls
and (female?) collectors. A great non-fiction title
coming from Macmillan's is The Big Book of Pop-up
Optical Illusions by Andrew Bennett, in which the
reader, with the help of the character Doctor Optic, is
led through the fact-filled spreads and can find lots of
optical illusions (sometimes in pop-up) on any of its six
spreads. Looks a bit like a Van der Meer "Pack," but
otherwise you cannot believe your eyes in this book!
We especially love this kind of book with illusions.
..%:.... ^ ....
Aside from all of
these giants in the field
of publishing pop-up and
movable books we saw
interesting single titles
worth mentioning at
houses. At Ragged Bears
for example, The Big
White Book by Mike
Brown low, a large 20-
page book of tough
board pages, at first sight mysteriously empty (white!).
By looking more closely and by the use of ingenious
flaps, pulleys and tabs, the reader meets a whole host
of colorful little book men living within the pages!
Very imaginative and great fun. A must have.
Kees Moerbeek did for Child's Play a very nice 77z<?
First Christmas (0-88953-834-6). It is another book in
the triangular shape known from a lot of his other
works and now matching very well with the nativity
crib scene the book finally turns into. Additionally
there are stand up figures stored in the back cover of
the book. The same publisher has another original
novelty by Kees Moerbeek, the "Roly Poly Books,"
three little boxes concealing a wealth of pop-up secrets
that are uncovered as the "books" mysteriously unravel.
The titles are Old MacDonald (0-85953-649-1),
Mother Goose (0-85953-854-1) and Numbers (0-
Tony Potter Publishing showed Ihe dummy of Ned's
Garage, another carousel and peculiar for its pastel
colors not usually found with this theme. At Design
Eye's we saw the first two parts of their new "Extreme
Planet Series" announced "to encompass all kinds of
remarkable phenomena, from the natural world to
amazing human facts"
but first bringing
Tornados and Volcanoes
and Earthquakes. The
books have interactive
pop-ups, lift-up sections,
die-cuts and press-out
card components. The
most intriguing parts are
the working models that
fold out from the inside of the front covers to make the
extreme phenomena occur: a tornado in action in the
first book, a volcanic eruption and an earthquake taking
place as "action simulators" in the second book.
A wonderful new David Pelham pop-up book comes
from Handprint Books, New York, A Piece of Cake ( 1 -
929766-01-7), kind of a sequel to his funny Say Cheese
and in the same triangular shape. With a fine paper
sculpture encased behind acetate built into the front
cover and 1 1(!) spreads with pop-ups, lift-the-flaps, and
the cutest little mouse we ever remember having seen,
unrolling from one of the spreads to end up sitting on
the border of the spread. A joy, and another must for
Completely new to us was the London-based
packager/publisher Aladdin Children's Books having
four new pop-up books. They showed two beautiful,
detailed dollhouse carousel books TJie Haunted House
(with even a rounding side-tower!) and an Edwardian
Grocer both with additional story booklets and push-out
characters to play with. They have no paper engineer
credited but they are strongly reminiscent of last year's
Hk Victorian House Book by Keith Moseley, with its
innovative outside front of the house at one side and
some open inside rooms at the other side of the
carousel. Nevertheless they are great additions for any
collector fond of carousel books. [We have just learned
of Mr. Moseley's website <www.pop-upworld.co.uk>
and the two books are his works!] Maybe also the other
two dummies we saw at Aladdin will prove to be done
by Keith Moseley, Dino-Pop, a sturdy pop-up book with
various dinosaurs and amusing text describing each of
the modeled creatures, and a Traditional 19th-century-
Farm. It is not really a book but more a kind of a
portfolio that unfolds into a square of buildings and
shows in full three-dimensional detail the old-fashioned
farmhouse, a cow stable with cows waiting to be milked.
a stable with an old horse, and a great barn. When
opened it offers a nice tableau of unfolded miniature
paper houses and varies the "playsets" as known from
Intervisual (and also partly engineered by Mr.
some new dummies
from their well-known
Helen Ward's One
Fine Day offers a
charming gift package
with a movable paper
sculpture behind a heart-shaped acetate window,
doubling as a slipcase for an illustrated storybook. It
comes with a ribbon loop ready for hanging on a
bedroom wall (in the tradition of a similar series such
as Robinson Mouse and Cindy Mouse, again by Keith
Moseley). A. J. Wood has a new House Full of
Monsters: Pop-up, a Halloween special with
illustrations by Deborah Allwright and including pull-
tabs, wheels and flaps to lift. Derek Matthews has some
new parts in his series of "Snappy Pop-ups" and
showed a new Pop-up ABC full of first words for
toddlers to learn, with each letter having its own
surprise to reveal, hidden behind a pop-up or a flap and
ending up in a final full-spread pop.
Before returning to Intervisual Books we had a look
in the halls where the European children's book
publishers conducted their business. This year's fair
once more showed
Saxon the world of the
movable, pop-up and
novelty books appears
to be. And since the
exchange rates of both
the American dollar
and the British pound
sterling have stayed
extremely high for a
long time in relation to
the European Euro, we
think there never have
been so few European co-editions of the products of the
British and American packagers and publishers as
there were this year. Prom different sides this feeling
was stated by people involved in this business. We
found very few "original European" pop-ups. In the
halls of the German publishers we saw, at Esslinger
Verlag J.F. Schreiber, a pop-up adaptation of their
Pop jp Bu<d
picturebook character Kleiner Raben (Little Raven) by
Nele Moost and Annet Rudolph. Alles gebacken! Pop-
up Buch (Everything cooked! Pop-up book) (3-4802-
1499-1) paper engineered by our fellow Movable Book
Society member, Italian artist Massimo Missiroli. His
paper artwork was his third book for the former
Meggendorfer publisher, following his earlier
Struwwelpeter and Max und Moriiz pop-up books.
Rowohlt was the first to get a prestigeous German
award, the Deutsche Jugendliteratur Preis for a pop-up
book: Antje von Stemm's Fraulein Pop und Mrs. Up.
We wrote about this in the last issue of Movable
Stationery. Strangely enough it was awarded in the
category of non-fiction, possibly because of its hobby or
do-it-yourself character. They also showed Antje von
Stemm's sequel, to come in 2001.
Coppenrath, from Munster, Germany showed a nice
novelty: Edison geht ein Licht auf! Die Geschichte der
Gluhlampe (A light dawned upon Edison: The history
of the electric bulb) (3-8157-2066-4) It has a text by
Tom Lackner and illustrations by Barbara Jelenkovich
with numerous flaps to lift, tabs to pull and a real light
on every page: such as a car light, a street lantern, a
lighthouse, a traffic light and more.
That was almost all there was from European
publishers this year, at least those pop-ups and
movables we think would be of interest to the readers of
Movable Stationery, people looking for collectable
items. We found nothing interesting at all at the stands
of the French, Spanish, Italian, or Eastern European
publishers. So we returned to the "international hall," as
it is called, the big hall with all the British and
American publishing houses, to see (and now in full)
this year's production from Intervisual Books, always
the leader in the field.
At the beginning of this article we mentioned Rives'
Polar Bear that Mr. Hunt described as Intervisual's
highlight. Since we now had seen the complete
production of the other firms, we could agree that the
book proved to be one of the top five or six of this year's
fair. The other candidates we described above. Other
new books (or dummies of new books) we saw at
Intervisual were an Old MacDonald's Farm and a
Wheels on the Bus, both additional titles in their series
of "3-D Playsets with Sound and Windups." Another
"Pack-like" production, Rugby: A Three-Dimensional
Tribute to the Sport, engineered by Tor Lokvig, follows
the formula of Hurley Davidson or the Elvis Pack. The
Mouse in the House Playset includes three pop-up play
scenes and is illustrated by Karen Bell. LynetteRuschak
did a sequel to her Annie Ate Apples with the new
Oscar's Opposites that has a lot of pull-tabs, lift-flaps,
wheels, and simple pop-ups - and a great spaghetti-
eater! A novelty book from Heather Gondek, Morning
in the Garden/Nighttime in the Garden is a two-in-one
book that, once the first book is read, allows the reader
to turn it over to read its opposite part. In both parts
there are pull tabs, pop-ups and touch-and-feel
elements. The young Hungarian designer Krisztina
Nagy showed a fourth title in her series of "Fuzzy
Bear" books, Fuzzy Bear goes to School. Dave Jonason
has a remarkable Midge and Gizmo 's Scavenger Hunt
with weird illustrations and lots of movable elements to
find hidden objects in its eight scenes.
Extra attention has to be given to some books with
special (new) techniques or gimmicks. Announced as
"IBI's first Talking Picture Book" was Say Moo! A
Speak-and-Play Book, a book that al lows you to record
each animal sound in your own voice and play it back
with the press of a button. Betty Ann Schwartz, What
Makes Music? has seven colorful strings incorporated,
growing from one on the first spread to seven on the
last and forming a xylophone - the same concept as
used in last year's What Makes a Rainbow?
David Wood and Richard Fowler worked together
again on The Toy Cupboard, an action packed book
with pop-ups, pull-tabs, wheels, a puzzle, paper dolls,
punch-out clothes, and a fishing pole that actually
catches fishes in a 3-D pond. The kind of book that in
no time will prove to be difficult to find complete with
all its accessories. A special technique to build up a
doll's house was used in Phil Wilson's one spread
Mystery Manor: A Spectacular Playset. It is not a
carousel but it is difficult to describe how it actually
works. Once the covers are opened, you have to unfold
the five-room house yourself and fasten it by inserting
tabs at its bottom; a next step is the unfolding and the
inserting of the roof. There are aiso a lot of tomb stones
to erect in the front garden and all this results in a tall,
almost two feet high paper building (hard to unfold and
flatten again too!).
But the book we were most attracted to at
Intervisual was Jennifer Lawrence'sSaJDoggv, telling
the story of the boy Ben who wants to make his crabby
canine a little happier and for that purpose gets out his
paper and scissors to create an assortment of pop-ups
on the pages: a car, a mask and an oh-so-charming
plane. Unfortunately nothing seems to make the
depressed dog happy. But lucky for us, we grow very
happy looking at the artistic and humorous il lustrations
by Tim Ering - mind his name! Surely something for
the small but treasured collection of "special artists'
books" on our shelves.
For those readers who
have heard enough now
about all the "fantastic and
collectable" new items but
prefer (and are experienced
enough) to make pop-ups
themselves, we saw in
Frankfurt a wonderful new
range of Moving Model Kits
designed by Keith Newstead,
U.K.'s finest creator of
automata models. Newstead
designed moving models for many of the world's
(British) premier tourist attractions: The London Eye for
British Airways, The Guillotine for Madam Tussaud's,
Sisi for Schonbrunn Castle in Vienna, Off with his head
for the London Dungeon and others. Arcrurus
Publishing Ltd, London, brings a series of six Moving
Model Books with great weird models by Newstead:
Mummies, Aliens, Dinosaurs, Vikings, The Odyssey and
Dennis & Gnosher. Great stuff to do it yourself, but
make sure to look first at the final results at their
website <www.arcturuspublishing.com> !
As usual, we saved the titles we thought the most
attractive of this year's fair, those literally irresistible,
for the final paragraph of our article (to see who would
read to its end). Two books made us so greedy that we
could not wait to add them to our collection and tried -
successfully - to acquire a copy of them during the fair.
In random order: Das Weihnachlskarussell (3-8157-
1992-5) by Anne Braun and illustrated by Gabriele
Hoppner, published at Coppenrath in Miinster,
Germany. The covers appear to be just a portfolio
hiding a twelve-page booklet with a Christmas story,
and the real present Father Christmas brought for the
little Luisa in her dreams. But a glorious, colorful pop-
up merry-go-round comes popping up at once when
unwrapped! More, the merry-go-round turns around and
plays "Jingle Bells" at the pull of a string. The covers
(and the booklet) can be used to form a panoramic
background and so you will have a wonderful paper toy
in your display case. By the simple push of one finger
the whole paper sculpture folds flat again. It is a great
piece of paper engineering by Christian LeGrand who
surprised us earlier with his innovative techniques.
"book" that raised
was My 4 WD: A
Story You Can
Really Get Into,
"Inc." (sic!), with
text by Paula
children into books
takes on new
meaning with this
book. In fact, it will be difficult to keep kids out of
them! The book comes as a first part in a series of
"Convertibles," has large format (35x35 cm.) and is
done in heavy board. The zig-zag folded book appears
to transform into a three meter "road" (playmat), but
this proves to be only its first transformation. For next
the "road" magically turns into a real toddler-sized car!
It is big enough for the child to literally step into
through a door that opens, to play with the controls, to
steer with the wheel and to drive off. It is published by
Miles Kelly Publishing, Great Bardsfield, U.K.(1-
902947-71-1), who also announced forthcoming
"Convertibles" like My Boat and My Fire Engine.
Though we would
have had liked best to
have driven out of the
fair ourselves in the
newly- acquired four
wheel drive, with the
turning and music
playing roundabout by
Christian LeGrand on
the front (imagine!), we
asked, timidly and
slightly embarrassed, for a non-transparent bag to hide
the treasures in until we could reach home. We stay,
alas, decent grown-ups who just have "a professional
interest" in children's pop-ups, movables and novelty
books. At least till next year's Frankfurt Book Fair.
David Carter, continued from page 3
done by me. In the very beginning when I had the idea
to do this book, I called Jim Diaz and asked whether he
wanted to work with me on this, because Jim and I had
worked so closely when we were younger back at
Intervisual -- 1981, 1982, 1983. We developed this pop-
up lingo that we would use back and forth. Jim was the
creative director and I was one of the paper engineers.
We would look at a project and some things that had
already been done and Jim would say "Why don't you
try using that flippy flop mechanic, you know the one
that goes this and that." We developed this terminology
that no one else was using and tried to define what the
very basic mechanics were. That's what Jim and I did
together. We defined what was going to go into the
book and Jim's company was responsible for doing the
production on the book until we had the final product.
K: So that's why
he gets the
Alplia Bugs for
being your "Alpha
D: That's right.
O u r
was mostly on the
phone for Elements of Pop-up, but we also actually met.
One time in the very beginning of the project Jim was
in San Francisco and I went over there and spent two
days at the hotel. We talked about the original concept
and its very early stages. Then later Jim came up to
Auburn and we worked together for three or four days
together once the book was almost finished
K: Who did the big demonstration pop-up inside of the
cover of Elements of Pop-up?
D: Jim did the pop-up inside of the cover. We yanked
him in on that part of the project early. He did a couple
of things and 1 would play around with them a little and
send them back to him. The title page is Jim's.
K: So you were also mailing pieces of the pop-ups to
D: Oh back and forth constantly. I should probably
show you. 1 have this bag that almost takes up this
entire drawer here, there is so much stuff. The book
would go back and forth and back and forth. We'd make
the various pieces changes and it would work or not
work. I would give it to Jim and say let's think about
this. What this is? Is this a basic structure or is it just
a combination of basics? Let's put in a clicker
mechanic because we show it in the book, so let's add
it to this pop-up. Let's put these coils in, or whatever.
Let's change the construction here. And we would
refine. This would go back and forth until we finally
narrowed it down to the basic 45 pieces that went into
the book. Now, if I need to talk to someone over the
phone, I say, for example, go to figure number 31.1 put
the Elements of Pop-up by the side of my desk and I
use it all the time.
K: So this book that is a mock up of everything travels
back and forth several times and, before that, pieces of
paper, etc. . . .
K: There are people who would die for that original
D: Well, there is an avid collector by the name of John
Railing based in Chicago who even started to do pop-
ups himself. We were talking about collections and I
said I think the most collectable thing that anyone
could get their hands on are the rough cut dummies.
K: There was a need for
D: Yes. That's why I wanted
to do it.
K: Was Playful Pandas the
only National Geographic
book you did?
D: Actually I did another book for them, a flat board
book called Opposites.
K: Playful Pandas has wonderful illustrations.
D: Thanks. Actually 1 have a theory about that book. I
think if I were the art director at National Geographic,
1 wouldn't have hired me to do that book.
K: Is that because the National Geographic books tend
to be very realistic.
D: Right. The style of artwork that I do with cut paper
is more a simple sort that doesn't lend itself to being
National Geographic-ish. I'm glad I did it, but every
time I pick up that book I say 1 wouldn't have hired me
to do this book.
K: I love the book. The black and the white and the
greens and the blues are so graphic. It is really
wonderful, but I've had the thought that it is kind of
unusual for a National Geographic book.
D: A lot of it was that Jim Diaz was involved with
National Geographic, doing the book, and he probably
said I've got this illustrator friend. Let's get Dave to do
it. It's a pretty book. I love the colors in it, but I am just
not sure that it goes with the series. Very detailed. Nice
paintings for the most part.
K: Vic Duppa-Whyte. Did you work with him?
D: Actually I have never worked with Vic Duppa-
Whyte on a project. We just knew each other.
when it does make it into a book it quite often doesn't
work very well. So a lot of Vic's books that you see
published don't work well. The pop-ups are just too
complicated. You pull a tab and it doesn't work quite
right. But his original work, his rough cuts, were the
drop-your-jaw kind of stuff. WOW! Awe inspiring.
K: Did you work with Ron van der Meer?
D: Yes. During my first years at Intervisual, Ron was
one of the star people coming in. When Ron van der
Meer walked in, everybody was very excited and they
couldn't wait to see what he was bringing. They all
wanted to work on one of his projects because they
were very interesting and unusual. Like his Pop-up
Games Book. Have you seen that one?
K: From Intervisual?
K: Yes, I have it.
D: He would come to Intervisual on a regular basis and
I think we hooked up a couple of times at one of the
ABA's in San Francisco. He had been in Columbia, flew
to San Francisco and came to the ABA when I was
there. We became buddies, became friends. Then on one
of the trips while I was in London, I spent some time
with him in his studio. He showed me all of his work
and we talked a lot. That's when he gave me the little
hopping kangaroo there (pointing to a paper kangaroo
model that has a rubber band-loaded mechanic that
makes it hop). Vic must have been short of paper
because he made the model out of a Tony the Tiger
Frosted Flakes cereal box.
K: Made out of a cereal box?
D: Yes. This is my favorite piece. He was another John
Strejan-type paper engineer and I wish I would have
had the chance to work with him. David Rosendale,
who is another paper engineer, worked with Vic quite
a bit, so he probably knows a lot more about it. But Vic
would show me things off the shelf and the paper
engineering was just incredible — the things he would
make happen. He was working on The War of the
Worlds, which has never been published, but he actually
had the spaceship floating in the air. It had a couple of
little tiny pieces supporting it, but it was floating in the
air. It was just incredible!
K: He, like Strejan, could make you say WOW!
D: Absolutely! His work made me say WOW. His work
sort of baffled me. I had to look al it hard to figure out
how he made it work. But the problem with that type of
paper engineering is that it is so complicated to
manufacture. Very little of it makes it into books, and
D: It's fun. You ought to see mine upstairs. It's
demolished. Every piece is falling off of it. That's my
first repair job when I retire and open my pop-up book
hospital. And it was fun working on his magic book.
They were just different. It was also fun having
someone like Ron van der Meer around. You've never
met anyone who is in a better mood all the time.
Always laughing at everything, no matter what. He just
laughs. He is really nice.
K: He seems like the consummate businessman too.
D: I think he has become that. But when we first met,
when he first came to Intervisual, he wasn't like that at
all. Well, he might have been, but that is not what I
saw. I saw a truly fun loving ... In fact, this picture of
Meggendorfer right here reminds me of Ron van der
Meer (pointing to picture of Lothar Meggendorfer
inside Genius of Meggendorfer). "I am here to be
K: Does he wear funny shoes?
D: Yes, he wears his red shoes. Of course, he has
turned that into his logo.
K: And he has a book called Funny Shoes that has the
red shoes in it, three-dimensional of course.
D: Oh is there? But you're right. Ron did the Sailing
Ships book and that was one of the first books that was
a nonfiction, educational adult-type book. And that is
definitely the direction that he is going. Also, the Art
Packs. When I look at those books, I see books that are
mostly reference books, educational books. He uses
pop-ups in the right place, but when you look at the
paper engineering in those books it's quite simple.
There's nothing overly complicated, but he's saying I'll
use paper engineering and string and pulls and
whatever it takes to illustrate this concept. He is
approaching it as a bookmaker, as a book designer,
which is different than a lot of people do it. My goal is
to make a cool pop-up book, and Ron has done some of
that, but his most recent work is to make a good book.
Some of the Math Packs don't have any pop-ups at all,
but they have movables. He is using the art of paper
engineering to solve problems — which I like. I have
more appreciation for that, for a book as a whole, than
to see someone who has a book with one cool pop up in
it for seemingly no reason. And the reason I say that is
for years at Intervisual that was sort of the goal - to take
anything that we could and make it a big, cool pop-up.
Let's not think too much about why we're making a big,
cool pop-up, just make it a cool pop-up right there and
then we'll put some words over here and some picture
around it. To me, I thought that was not the best way to
design a book. You really need to think about
everything, why it was there, what the whole picture
was. Ron does that very well.
K: And Iain Smyth?
D: Iain Smyth is relatively a newcomer. But once again,
what I like about Iain's work is he does what Ron van
der Meer does. His mystery books, for instance. The
concept of what it is that he is doing as a book is what
comes first. Then he applies paper engineering as a
solution to whatever problem to make it happen. Iain
Smyth's mystery books are good solid books, just as
books, and that's why I like his work.
K: Did you ever work with him?
D: I've never worked with him. I have met him a couple
of times. Those British guys go to Bologna quite often.
That's what's fun about going to the Bologna Book
Fair, you have all the people there. So we go out, have
dinner, carousing and laughing around.
K: Well, you can't find your colleagues on just any
D: So it is fun. The last time I was in London, I got
together with Iain Smyth and David Pelham and we had
a great night out. Pizza and laughing and carousing too.
He is a nice guy.
K: My Granddaughter Kalian's favorites of your books
are Surprise Party and In A Dark, Dark Wood — wh ich
was the first book she could ever read by herself.
D: Is that right? Dark, Dark Wood?
K: Yes. Which makes it special forever.
D: Sure. I can tell you
about that one. I
mentioned Mark Chesire.
He was the editor who
bought my first two pop-
up books. Well, Mark later
became my agent and as
my agent he would quite
often make suggestions.
Dark, Dark Wood was his
idea. I thought it was a fun
idea because that is one of
those old tales that has
been told over many, many different times. You can
find In a Dark, Dark Wood in many different versions
in the library. An old public domain piece. But when
we first started thinking about it, we thought here is a
book where we can really use a pop-up at the right time
at the right place. It's a flat book and it builds and it
builds and it builds. Then all of a sudden there is the
end and it's a pop-up. I like it because that was a very
interesting and unusual use of pop-up, where some
other people would have tried to make every page pop-
up. Let's let it stand out.
K: I like the size of the book too, and what you did for
D: That's really unusual illustration. That was the type
of painting that I was doing in college and I just went
back to it at that point because it seemed like the right
thing. I probably have four or five different styles of art
that I can use and I will use any given one based on
what I think that project needs. So I painted that one.
K: A few minutes ago you pulled out Naughty
Nineties. You said it was one of your favorites.
D: This is one of my favorite books. I just love it. I love
the concept of it. It is an adult book that is a pop-up. I
remember this book coming into Intervisual. The
original came from a woman in Australia, I think.
"Concept by l^eslie Jane Kaiser." 1 think that had to be
her. The original comp that she sent in was nothing
like this book. They took it and changed it. The
illustrations are based on Gibson's drawings — The
Gibson Girl. They were done by an illustrator who was
working at Intervisual at the time, BorjeSvensson, who
is probably one of the best illustrators I have met in my
life. He could just do anything. He did the paintings for
Sailing Ships and these great Gibson Girl drawings. 1
love the feet that they are black and white. It is just fun.
Conceptually they really work very well.
K: Who engineered?
D: I believe Keith Moseley did it. Keith Moseley and
John Strejan. Here is a case where the paper
engineering is not necessarily fantastic, it's just simple
pull tabs. But the application of it with the art is the
right style. And the text is good. I love the way this
book came together. I love the fact that it's an adult
K: Now there are really quite a few good adult pop-ups.
Hugh Johnson's Wine Book, and 1 like the Golf Book
that came out in the last few years.
D: There are quite a few now. But I think that this was
one of the first ones, if not the first one. This book sold
fairly well. They printed 1 50,000 copies and sold them
right away. They also did a mini version.
K: We talked a little about the book / Wonder What 's
D: That was a pretty
unusual theme. What's
Under There was
brought to me by Linda
Zuckerman as a full
Lattimore is the
illustrator and the
author. They just asked
me to do the paper
engineering, which is
simple because there
wasn't a lot that could be done with it. My only input
was to make sure that what this pop-up book is about is
looking at people's underwear. So it is a book of lift-ups.
We just look under their clothes. That was my only
K: One of the most clever ones is having to lift from the
neck. I would have never thought about that.
D: That was a struggle -- trying to find good places to
lift these up so you can actually see what it was that she
was talking, the underwear.
K: I noticed on the back of Elements that you've sold
over four million books. How does that feel?
Jl ■ ' J '"' ''
> KS»X«?**il -HTML'.*-
D: Well that feels good, but I'm not sure how accurate
that number is. It could be correct if they count all the
foreign sales for all the books. According to my
calculations it's not quite right, but it's not that far off.
There are two and a half million bug books, which I
think is much more accurate. 1 think what publishers
do sometime is say "250,000 copies sold." What that
really means is 250,000 copies are in print and shipped
out to bookstores. They aren't counting what they call
returns so they aren't counting the number of copies
actuall sold. Ron van der Meer said he has 17 million
copies sold, but that means that he has sold 17 million
copies of his books to publishers. That could also mean
that there are 16 million copies sitting in warehouses.
And I know that Intervisual does that. They are
honestly counting how many copies they have sold
because they have made the sale to the publisher. So
when they do a print run of 1 50,000, they sell 1 50,000
to the publisher. It's a substantial number of books and
it sounds great
K: You have the domain name "popupbooks.com." Do
you have plans for it?
D: 1 do have plans for it. The person who is building
the web site is another friend of mine from college.
Two years ago when I decided to do this I didn't know
anybody who was doing web sites, so I hired her. I've
just recently been talking to her and she promises me
that it is almost ready to post.
K: I am wondering what she is thinking about for the
D: There's a lot to it. We've spent a lot of time
designing it. You have a basic home page when you
open it up and then various places to go. I've done a lot
of bug artwork for it. We have the basic windows set up
that has all these bug characters and they are doing
animations for each area and the pop-up menus. When
you click on it, a little thing comes up with music and
animations. That's the basic site. So what you will
have is a welcome, there is a picture of me and Noelle,
and you click here and it will take you to the
biographies with bug eyes. These are like related links.
There is a list of pop-up books that has a photo of every
book cover. And there are books for sale. Another link
takes you to the American Booksellers' site so you can
find your local bookstore and at related links you can
find a link to Amazon.com or Barnes and Noble or
Borders. The Movable Book Society is in there and I
will definitely put you in there. That is what the related
links are all about. If someone comes to this page just
DAVia A CARTER
because they are interested in books or my books or
children's books. I can send them to all the other places
that are related. We will also have the calendar of
events. This will be an ongoing calendar of what I am
doing, whether I am at a book signing tour or at a
school. There will be the list of our books, the
booksellers, related links and emails, biography and
then changing contents. It's a work in progress, if 1
want to, 1 can post a letter or a fun email or drawings
from a child.
K: Do you get those?
D: I get emails and letters. I have a whole file over here
of stuff that kids give me when I go to schools. 1 do a lot
of school visits for fun. They draw bugs and I have
gotten some really good things. So that is what this will
be right now. I don't
know what it will evolve
into, but supposedly
they are working on the
Notes: In answer to an
earlier question, John
Strejan illustrated /
Love to Eat Bugs.
m> is fully functional.
And what can you say about a guy who states on his
website, "I love my work and family" except a big thank
you, Dave for telling us about your work.
Books by David Carter
The following list includes all of the titles written or
illustrated or both by David Carter. This does not
include any of the l.C.I. books where he is listed as
1 . Skyscraper going up (out
of print) - Harper Collins
2. How to be an Ocean
Scientist (out of print) -
Harper Collins (flat)
3. What's in the Cave? -
4. What's at the Beach 7 -
5. What's in the Jungle? -
6. What's in the
Prehistoric Forest? -
7. What's in the Deep
Blue Sea? - Henry Holt
9. How Many Bugs in a
Box? - Simon &
1 0. More Bugs in
Boxes - Simon &
1 1 . Jingle Bugs - Simon & Schuster
12. Opposites (Baby Bugs) - Simon & Schuster
13. Counting (Baby Bugs) - Simon & Schuster
14. In and Out (Baby Bugs) - Simon & Schuster
15. Colors (Baby Bugs) - Simon & Schuster
16. Alpha Bugs - Simon & Schuster
1 7. Love Bugs - Simon & Schuster
18. Feely Bugs - Simon & Schuster
19. Bugs that go Bump in the Night - Simon &
20. Numbers (sticker book) - Simon & Schuster
2 1 . Shapes and Colors (sticker book) - Simon &
22. Noodles - Harper Collins
23. I'm Shy - Simon & Schuster
24. Say's Who? - Simon & Schuster
25. In a Dark, Dark Wood- Simon & Schuster
26. Snack Attack - Simon & Schuster
27. What's in My Pocket? - Putnam
28. Surprise Party - Grosset & Dunlap
29. I'm a Little Mouse - Piggy Toes Press (IBI).
Originally published by Henry Holt
30. Peek-A- Boo Little Mouse - Piggy Toes Press
(IBI) Originally published by Henry Holt
3 1 . Merry Christmas Little Mouse - Henry Holt
32. If Pigs Could Fly - Price Stern Sloan
33. Playful Pandas - National Geographic Society
34. Opposites - National Geographic Society
36. Over in the Meadow - Scholastic (flat)
37. Cars, Cars, Cars - Scholastic (flat)
38. There's a Square - Scholastic (flat)
39. Bugs on the Go (board book) - Simon & Schuster
40. Bugs at Play (board book) - Simon & Schuster
4 1 . Bugs at Work (board books) - Simon & Schuster
42. Busy Bugs, Lazy Bugs (board books) - Simon &
43. If you're Happy and you Know it - Scholastic
44. Bugs in Space - Simon & Schuster
45. Curious Critters - Simon & Schuster
46. Wliat's Under There? Browndeer Press, HBJ
47. Bed Bugs - Simon & Schuster
48. Glitter Bugs - Simon & Schuster
49. Stinky Bugs - Simon & Schuster
50. The Elements of Pop-up - Simon & Schuster
5 1 . Giggle Bugs - Simon & Schuster
5 1 . The 12 Bugs of Christmas - Simon & Schuster
52. The Nutcracker - Simon & Schuster
53. Easter Bugs - Simon & Schuster
B 7 ^ 3,
A V '■*."
u|l III Dd»ttt A
European Branch, continued from page 4
After a short lunch break in the fine historical inner
town where we gathered, the afternoon session started
with a lecture by Mr. Aernout Borms, a collector of and
writer on movable books. He prepared a talk about
movable plates not published in books. He used slides
and included all kinds of items from his collection to
illustrate his words. We saw not only movable trivia
from the Disney factories and the tourist industry, but
also rare folded prints from the 18th century, movable
1 9" 1 century picture postcards, calendars, advertisements
with movable or pop-up parts, records and CD's, soft
porno and on the other hand the use of movable plates
for educational purposes. Mr. Borms distributed an
English-language handout describing all of the items he
The next contribution came from Kees Moerbeek
and Carla Dijs, the paper engineering couple so
successful worldwide who are hardly known in their
own country because only a few of their books have
Dutch editions. We had asked them, for that reason, not
only to tell about their current projects, but to show, in
particular, a survey of all the wonderful books published
abroad in the over the 15 years they have been active.
The sympathetic Kees Moerbeek was the spokesman
while his wife Carla Dijs showed the books and also
some uncut printing sheets to illustrate the production
process and the limitations in the amount of paper used
for their books. During the tea break that followed both
signed books and sold to the collectors all of the books
that had filled their suitcases.
Because of the enthusiasm of both the speakers and
the audience, there was not adequate time for the whole
program as planned. So we had to shorten the rest and
decided to leave out the talk about the development of
the carousel books prepared by Theo Gielen, that was
illustrated by the exhibited books.
What came next proved to be another highlight of
the day. We had succeeded in getting Professor W.A.
Wagenaar, a collector, but, above all, the owner of the
only magic lantern theater in the country. He
performed Lothar Meggendorfer's two-part Bewegliche
Schattenbilder. He himself is the happy owner of Part
I and the organizers of the day succeeded in getting
special permission to use the only known copy of Part
II in the country, a treasured copy held by the Royal
Library in The Hague. A special courier brought the
copy - and took it back again once the performance
ended. Professor Wagenaar showed the 16 movable
plates as a professional shadow theater performance
while his wife read the original German text of the
books. Surely a unique and highly acclaimed
experience by the audience that realized this was a
once-in-a-lifetime experience to see these rare and
precious books together and performed in the way
Meggendorfer imagined them when he designed them
A short evaluation of our initiative and the actual
happenings of the day brought loud voices of
acclamation. We agreed to gather every second year, in
the spring of the year when the official MBS
conference is held in the autumn. Since the German
visitors offered to organize the next meeting, such will
be held in Germany, spring 2002. So, Italian, French,
Spanish, Belgian and British members be sure to plan
your visit at that time. You are invited! As a relaxing
end to the successful day, a 30-m inute video was shown
of a wonderful television program made by the German
producer (and collector) Ivan Steiger of Munich. It was
an ingenious presentation with lots of historic movable
books shown in motion, with hardly any spoken text
but accompanied by fantastical, matching, minimal
music. The program, already shown twice on German
television on Christmas eve, brought once more many
"oohs!" and "ahs!" Before going home we had a drink
in the local Irish pub around the corner - to stay in the
Anglo Saxon mood that marked the day, and to
exchange more information, stories, cards, and
Paper engineering workshop by Barbara Valenta,
The daughter of the New York paper engineer Mrs.
Barbara Valenta lives in Holland. Since we knew
Barbara would visit her in 2000, we had sent her an
invitation to plan her stay here to correspond with our
April meeting. Mrs. Valenta felt honored to be invited
but regretted not being unable to come in the spring.
Spontaneously she offered a free paper engineering
workshop to her daughter's new countrymen when she
visited Amsterdam in August. We stayed in contact and
agreed to do the workshop on August 23.
Some ten people brought the required materials and
equipment and gathered on a sunny day in a gallery we
werepermittedtouseforthisactivity. Mrs. Valenta was
well prepared. She brought not only her friendly
husband Milt, but also a lot of extra paper and a great
colorful range of ready-made examples of the basic
principles of paper engineering she uses for her courses
in New York's schools. And since she took over some
classes from Robert Sabuda at Pratt Institute, too busy
with his own books to teach classes anymore, she also
brought the instructional originals of some more
complex techniques that Mr. Sabuda prepared for his
After the salutation and a short introduction she told
about her book Pop-O-Mania and how by chance she
came in contact with its publisher on her daily ferry
boat trip from Staten Island to New York City. As a
good help for further steps in the engineering of paper
she especially recommended Duncan Birmingham's
Pop-Up! A Manual. But for now we were invited to start
working with paper and scissors.
Barbara showed us how to cut the paper to create
paper steps and asked us to make them ourselves; she
continued with the multiplication of steps and showed
other simple techniques that, nevertheless, gave
surprising results within a short period of time, even to
the most clumsy participants. We did V-folds, both the
ones cut in the paper and the ones adding extra paper
and we learned about
extensions and about how
repeating a same technique
gives nice new effects. Before
we even had the time to think
of ourselves as clumsy and
not capable of this noble
work, we had lots of proof of
our own paper artworks on
the table before us. Everybody
appeared to be a paper
engineer in no time! Since
the group was rather
heterogeneous - people with two left hands on one side,
and almost professional ones who studied arts and crafts
on the other - the differences in completed work was
obvious. But everyone adm ired the great results and the
cleverest pupils showed off their work: intricate pop-up
scenes of a castle with knights riding horses (or was it
St. George and the Dragon?) and beautiful paper birds
with movable mouths and wings. . . Even Mrs. Valenta
herself wondered about her instant success. The less
experienced pupils were not discouraged by all this and
tried again and again to cut pop-up steps that did not
peak out when the card was closed. The workshop
planned to run from two until four in the afternoon ran
to half past five, so don't ask if the workshop was
successful. And, surely, part of the success was a result
of the generous catering by our hostess, Mrs. Wuts.
Since it was a nice, sunny day and everybody had
enjoyed the experience we decided to have a drink on
the local pavement. It grew into a chatty social
gathering - ending with a nice supper before we broke
up. Barbara, again, thank you!
A lecture at Leyden University, November 2.
As a final manifestation of the festivities
commemorating their 425th anniversary, the staff of
Leyden University planned a series of lectures by their
own scientists and by people known from Dutch public
life. But lectures with a twist: everybody had to talk
about a theme that had nothing to do with his usual
scientific business. Hence on November 2 the Rector of
the University, the aforementioned Professor W.A.
Wagenaar in "normal" life a professor of psychology
with an international reputation because of his
knowledge of the working of the human memory,
lectured about movable books!
In the Great Hall, the same place where the
university was founded in 1 575 (historical also since it
is the place where our Kings and Queens graduated)
Professor Wagenaar had gathered the most rare and
valuable treasures from the university libraries -
enclosing movables, volvelles or pop-ups. Sometimes
the books were so special that white-gloved head
librarians from the libraries concerned brought in the
books and took them back again once the lecture and
demonstration of the item was ended. By an ingenious
use of television cameras, the cautious demonstrations
of the movable and erecting parts were shown on a
large screen above the speaker's reading desk. And
within this setting Professor Wagenaar discussed and
showed the early history of the use of movables in
cabalistical, astrological, mathematical, astronomical,
fortune-telling and other learned tomes from long, long
ago. And we, the audience, were instructed about the
character and the position of science in those early
times and saw how this was reflected in the old books
with their movable parts mostly used for instructional
purposes. When possible the older books were paired
with their modern pop-up counterparts.
To start with there was an explication of the earliest
volvelles in the works of the Spanish mystician Ramon
Llull, shown in a great 1 7 th century edition of his works
in ten parts, with the movable plates still uncut (it really
proved to be do-it-yourself from those days!). Wagenaar
continued with an educated discourse on 16 th century
knowledge of astronomy, still mixed at that time with
astrology. He explained the workings of the gem of
early movable books: Apianus' Cosmographia, here
present in the glorious 1 540 edition with its large folio,
handcolored volvelles, with seven superimposed discs.
The Un i versity owns the copy that once belonged to the
British King Henry VIII (the one of the murdered
wives) with a special binding from the time showing his
initials in silver: "HR" (Henricus Rex). Next were
shown such famous books as Basantin's Astronomical
Discours (1557); Waghenaer's Spiegel der Seefahrt
(1589); a copy of the most valuable Blaeu-Atlas De
Groote Zeespiegel (1655) with a movable skyline on
one of the sea charts to make it possible for the seafarer
to identify the place of the Polar Star at any place of the
globe and to identify the actual place on the world
where he was. Also shown were Zumbach von
Koesfeld's Cycius Lunuris Eclipticus (1708);
Perspective Made Easy (1755), an instructional book
that uses strings and flaps standing up the pages; and
from the anatomical books such treasures as Vesalius'
Tabulae Sex (1538) and Remmelin's Catoptrum
Microcosmicum (1613). From the modern equivalents
he showed books such as Cowper and Pelham's The
Universe and Miller and Pelham's The Human Body, as
well as some of the books with superimposed plates
used for similar educational puprposes around 1920:
the extra tall The Horse at Half its Size and a rare
French title, Notre 75 (1915) showing literally all the
ins and outs of the75 mm. gun of this name, used in the
First World War.
After a short excursion to the movable books "just
for the amusement of the children," exemplified with
some great examples from the last decades of the 1 9th
century (Meggendorfer, Nister, Dean), the speaker
returned to Ramon Llull. He projected pictures of the
Llull statue in Palma de Mallorca, Llull's birthplace,
and ended with a movable plate picturing Llull as a
monk with a movable arm and a cowl that moves over
his head, selling nowadays as a tourist souvenir, and
designed to be used as ... a hygrometer!
In the reception rooms outside the Great Hall there
was set up for the occasion a mini exhibition of other
historical movable books and the best of their modern
successors. All together this made it a memorable
evening that, unfortunately, was attended by many of
the University leaders, but due to miscommunication
by the organization, only by few people interested in
A "spooky" invitation from Kees Mocrbeck and
Carla Dijs, November 18.
Since Kees and Carla had
so enjoyed the contact with
the collectors of pop-ups in
April, they invited them to
their home in the small
village of Usquert in the far
north of the Netherlands for a
presentation of Kees' new
books The Spooky Scrapbook,
The First Christmas and the
three "Roly Poly Books."
They also offered to tell us about their visit to the New
York conference of the Movable Book Society, and to
show "on location" how their pop-up books, especially
their spread for Brooklyn Pops Up, came into being. As
an extra they planned a "spooky buffet" for their
guests. Although they anticipated some eight or ten
people would undertake the long ride, no less than 30
people from the Netherlands and Germany accepted
their invitation. And they all had a great day!
We were warmly welcomed by the host and hostess
at their premises, a former poor men's home for old
people but now rebuilt into a spacious residence for the
family and studios for the artists. There was coffee and
cake served in their living room with the possibility to
admire some great sculptures and ceramics done by
Carla, to see pictures of the New York conference, and,
in the dining room, to wonder about the complete pop-
up works of both of them published in countless
languages all over the world, completed by an exquisite
collection of modern pop-up books done by their fellow
paper engineers. And, of course, there were salutations
and small talk once again as collectors arrived.
A substantial in-house walk brought us to their
studios where Kees told about their contribution to the
MBS conference in September and presented his new
titles. With the use of slides, first sketches, dummies,
computer trials and prints, and old books and pictures
from which he "borrowed" illustrations, he showed the
history of the spread for the Brooklyn book and how
Tfie Spooky Scrapbook grew from early doodles and
"memory lists" to a published book. Meanwhile he
pointed out various details that readers might easily
overlook. For example, the pictures of Kees and Carla,
backed by the large, Venetian blinds on the windows
of the studio, are mirrored in the glass of the egg cream
on their Brooklyn spread (be sure to look once more at
your copy of the book!). The old-fashioned seat that he
copied from an old book on furniture is integrated in
one of the spreads of The Spooky Scrapbook. And he
spoke with visible pleasure about the private gimmick
of using the faces of some former brothers-in-law for the
monster leporello in the coffin at the end of the book.
He had to make the paper sculpture of the mouse in the
book less realistic since several of the (mostly female)
publishers were frightened and screamed when seeing
the first version of it... (Kees' words!). It was cute to
see how he had engineered a small version of the "box"
of The Spooky Scrapbook to send for production fitting
within the measurements of the discs containing the
artwork of the book and the instructions to the
printers/assemblers in Colombia. Just think of how all
the attendees felt as they sat on the edges of their chairs
getting the opportunity to get such a close look behind
After a tea break, the catering of the many guests
was expertly done by their two daughters, Anna and
Liza, the program continued with a talk by Kees on all
their unpublished works, sometimes assisted by Carla
since most of their books are developed in close
cooperation. They showed lots of dummies that were
never published and also explained the reasons why.
This part of the day soon grew into a rather hilarious
happening, with anecdotes about specific packagers
(e.g. Wally Hunt doesn't like monkeys, so a beautiful
book with pop-up monkeys was refused by him), about
dummies with too many glue-points, and ingeniously
constructed round or octagonal forms that are too
expensive to produce. There were also books that came
at the wrong time (a glittery, hexagonal boxed pop-up
The Twelve Days of Christmas coincided with the
publication of Robert Sabuda's version of the song), or
a book that was thought hostile to women (and Kees
agreed it was). We also saw a great dummy showing the
story of a man who lives as a mechanic in a tower,
between the wheels of an enormous clockwork; as a
consequence, he never knows the time himself. A
wonderful idea but after three spreads were engineered
the makers didn't know how to continue the story and
the dummy stayed unfinished. Then there was the tall
paper "picnic sheet," folding out over three square feet
and the couple's first trial in paper engineering in the
early 1980s when finishing their education as artists. It
was never published because the packagers thought the
ingredients of the picnic, and hence the gimmicks used
to parody them, too specifically Dutch or too bizarre.
A pity, for we think that a big breathless carp, served
as snapping at air and whose mouth can be moved in
correspondence by putting your hand from below in the
fish (!), just too surrealistic. There was so much more
to enjoy! During the talk the artists' studio looked like
a photo studio since every opening of another dummy,
or even a following spread, caused a storm of clicks
and flashes of the guests' cameras. It was very
informative to see that a stock of unpublished dummies
is not wasted, but, on the contrary, becomes working
capital for the development of new book. Various
techniques, ideas, stories, and novelties emerge in later
productions that better fit the market. We now finally
understand why it is so extremely hard for a collector
to ever purchase an unpublished dummy from a paper
As a "Grand Finale" we were taken to another part
of the residence where the daughters had installed the
"spooky buffet." Lucky for us on ly the ambience proved
to be spooky: a half-dark, candle-lit room, with creepy
rubber creatures hanging from the ceiling, and
enlarged, framed lugubrious pictures from The Spooky
Scrapbook on the walls. The three-dimensional,
enlarged paper bugs found in the same book,
unwantedly popped up in unexpected places, as did
some copies of Carla's, let us say, "exotic" ceramics
used as additional ornaments. The buffet itself was
super abundant, copious and delicious. Many of the
dishes on which the delicacies were served were ones
we recognized to be the inherited crockery that was the
model for the dishes of the fifth spread of the
Scrapbook. We magically stepped in the book as it was
presented that day.
With a bag full of signed copies of their new books,
a head full of impressions and information, but above
all with warm feelings for Mr. and Mrs. Moerbeek we
came home after midnight. We had a great day, invited
by great people, warmly remembered by the people
who attended as we have heard on several occasions
since. So, readers, if any paper engineer lives in your
region, try to get such a look into the pop-up kitchen of
the makers yourself. But promise to invite us!
So goes our year 2000. We will see what this year
will bring and we are already looking forward to the
next big meeting in Germany in the spring of 2002.
The European collectors known to us will be invited;
others who want to participate are asked to contact us.
Tunnel Book Workshop
In existence for several hundred years, tunnel books
have been used to create three-dimensional scientific
diagrams and children's books. Known as "peepshows,"
they consist of designed parallel panels, with cutout areas,
assembled to create a theater-like scene. On Saturday, May
5 and Sunday, May 6, Rand Huebsch will present a two-day
workshop at the Newark Museum in Newark, New Jersey
on tunnel book construction. Students will have the option
to experiment with different imagery, such as photos,
drawings, and prints. The sessions are for students of all
levels. For more information see the museum arts workshop
schedule at: <www.newarkmuseum.org>.
The following titles have been identified from pre-
publication publicity, publisher's catalogs, or advertising.
All titles include pop-ups unless otherwise identified.
Alien Opposites. By Matthew Van Fleet. [Pull tabs] April.
Hyperion. 8 x 8. 16 pages. $13.99. 0-7868-0655-9.
All aboard the Ark: A Giant Pop-up Book. By Dudley
Moseley. Concordia Publishing House. 13 x 12. $9.99. 0-
Be my Valentine. Raggedy Ann & Andy. Little Simon. 8 x
8. 0-6898-3920-0. $9.99.
The Camel and the Needle. Pop-up Parables. By Jan
Godfrey. March. Abindon Press. 0-6870-5010-3. $5.00.
Also: The Hidden Treasure. 0-6870-4950-4.
The Lost Sheep. 0-6870-4930-x.
The Two Houses. 0-6870-5000-6.
/ can fly! By Deborah
Norville. Golden Books.
March. 914 x 9'/2. 12 pages.
The mouse who ate
bananas. By Keith
Faulkner. April. Orchard
Books. 10 x 10. 16 pages.
Richard Scarry 's All Around Busytown! Little Simon.
VA x 10%. 5 spreads. $14.95. 0-689-82573-0.
Slide V Seek Colors.
[Sliding panels] By Chuck
Murphy. Little Simon. 5% x
5 3 / 4 . 5 spreads. $5.99. 0-689-
Also: Slide 'n ' Seek
Counting. 0-689-8401 1-x.
Under the Bed. By Rebecca Sams. Little Simon. TA x 9.
$9.99. 28 pages. 0-6898-4009-8.
Vroom! Vroom! By Steve
Augarde. April. Little,
Brown. $13.95. 10 pages.
Aleph-Bet Books. Catalogue 65. 218 Waters Edge, Valley
Cottage, NY 10989. Phone: 914-268-7410. Fax: 914-268-
5942. Email: firstname.lastname@example.org.
Ampersand Books. Winter Catalog 2000/1. Michael
Dawson. Ludford Mill. Ludlow, Shropshire Sy8 1PP UK.
Phone: 01584 877813. Fax: 01584 877519. Email:
Thomas and Mary Jo Barron. "Childrens & Illustrated
Books." Catalogue Number Nine. 120 Lismore Ave.,
Glenside, PA 19038. Phone: 215-572-6293.
Books of the Ages. Catalogue 25. Gary J. Overmann.
Maple Ridge Manor. 4764 Silverwood Dr., Batavia, Ohio
Cattermole 20 lh Century Children's Books. Catalog 34.
9880 Fairmount Road, Newbury, Ohio 44065. 440-338-
3253. Email: email@example.com.
Jo Ann Reisler, Ltd. Catalogue 53. 360 Glyndon St., NE,
Vienna VA. Phone:703-938-2967. Fax: 703-938-9057.